Ways of Seeing: Make a Day of it

If you are heading to Wilton to join us at Ways of Seeing sometime between September 21st and the 29th, there are some other art stops you might make on the way. 

Year of the Dragon
through November 10, 2024
Yale University Art Gallery
1111 Chapel Street (at York Street)
New Haven, CT
https://artgallery.yale.edu/exhibitions/exhibition/year-dragon

Kohyama Yasuhisa, Kaihō Yūshō screens
Attributed to Kaihō Yūshō, One of a Pair of Screens with Dragons and Waves, Japan, Momoyama period (1573–1615). Superimposed Ceramic: Kaze (Wind), Yasuhisa Kohyama. Photos by Janet Sullivan, courtesy of the Yale Art Gallery.

This exhibition celebrates the Year of the Dragon, with a presentation of nearly 30 artworks spanning from the 17th century to the present day. In the West, the dragon has historically been characterized as an evil creature, flying through the air while breathing fire from its mouth, but in the East, the dragon is believed to possess power in the celestial realm and to pour out blessings in the form of rainwater over swirling wind. The dragon also has a place in the Eastern zodiac calendar—alongside 11 other animals. The objects on view, feature dragons on folding screens, other paintings, textiles, ivory, woodblock prints and a ceramic by Yasuhisa Kohyama. Taking inspiration from East Asian history, folklore, and myth, these works demonstrate a long, complex, and continuing artistic tradition around this fantastical creature. 

Jonathan Becker: Lost Time
through January 26, 2025
Katonah Museum of Art
134 Jay Street
Katonah, NY 10536
https://www.katonahmuseum.org/exhibitions/exhibition/jonathan-becker-lost-time

Patricia Herrera at home, New York, 18 July 2001. Photo by Jonathan Becker, courtesy of The Katonah Museum of Art

Jonathan Becker: Lost Time features more than fifty of the artist’s photographs of influential figures from the worlds of politics, fashion, arts, and culture. Captured through the lens of his Rolleiflex camera, the striking, square-format images reveal intimate, closely observed scenes that serve as both timely and timeless portraits. Becker’s mastery of light, shadow, and saturation is evident across his work in both black and white and color mediums, evinced by the lush, velvety charcoal tones and dazzling chromatic range of his prints.

Tara Donovan: Aggregations
through March 9, 2025
Bruce Museum of Art
1 Museum Drive
Greenwich, CT 06830
https://brucemuseum.org/whats-on/tara-donovan-aggregations

Tara Donovan (American, b. 1969), Untitled, 2014 , acrylic and adhesive , Courtesy of the Artist and Pace Gallery , Photo: Kerry Ryan McFate, courtesy Pace Gallery

Brooklyn-based artist Tara Donovan reimagines and elevates everyday, mass-manufactured materials into the realm of fine art. In her sculptures and large-scale installations, she employs a range of objects—disposable Styrofoam cups, index cards, paper plates, pencils, pins, rubber bands, straws, tar paper, and even toothpicks—transforming their physical properties and functions. While some of her works are inspired by abstraction and the pure geometry of the grid, others conjure up the sublime, evoking geological phenomena, biomorphic shapes, and organic, cellular forms.

Ways of Seeing
September 21 – 29, 2024
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897
https://browngrotta.com/exhibitions

Ways of Seeing installation
pictured works by Lia Cook, Carolina Yrarrázaval, Lilla Kulka, Lawrence LaBianca, Mariette Rousseau-Vermette. Photo by Tom Grotta

Ways of Seeing explores how individuals envision and curate their art collections. 

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)
Schedule your visit at POSH. 

Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)

See you soon!


Ways of Seeing, Part Three: Right-Sized

Ways of Seeing Right Sized installation
Gali Cnaani, 8gs Red Dress, 2006; Jennifer Falck Linssen, 14jl Insight, 2016; Mia Olsson, 4mo Traces 4 Relief, 2006; Lewis Knauss, 38lk Spiked Horizon 2018; Paul Furneaux, 8pf Soft Sea Lewis II, 2024; Mary Merkel-Hess, 61mm Sun Series Orange, 2013; Sue Lawty, 35sl Coast East Riding of Yorkshire 1-3, 2024. Photo by Tom Grotta

“Right-sized” refers to adjusting something to an appropriate or optimal size. In Right-Sized, the third exhibition within Ways of Seeing, we explore collections through this lens. We’ve drawn inspiration from collectors who focus on intention and specificity—such as historic textiles, woven portraits, and Japanese baskets.

Laura Thomas
9lt Focus, Blue IV, Laura Thomas, glass, cotton, linen, silk, 16.75″ x 16.75″ x 1″, 2023. Photo by Tom Grotta

Herb and Dorothy Vogel, for example, a postal worker and a librarian, built a world-class collection of Minimalist and Conceptual art in their New York apartment, mindful of both affordability and space constraints. One artist noted that they would only purchase works they could transport home via subway or taxi. Similarly, Lloyd Cotsen, known for his diverse collections, including Chinese bronze mirrors, children’s books, and Noah’s arks, considered size in his creation of The Box Project, now housed at The Textile Museum at The George Washington University Museum For this project, Cotsen requested 36 artists to create three-dimensional works that fit within boxes measuring either 14 x 14 x 2 .5 inches or 23 x 14 x 2.5 inches. The goal was to observe how contemporary fiber artists navigated challenges related to physical restrictions and dimensions. In Right-Sized, we have selected works that adhere to specific parameters of small size, much like Cotsen’s project, while also considering affordability, akin to the Vogels’ approach.

noriko takamiya
34nt Revolving Cross, Noriko Takamiya, paper, 5.5″ x 7.75″ x 4.5″, 2024. Photo by Tom Grotta

Right-Sized is characterized by its diversity in materials, techniques, and approaches. The exhibition includes a variety of framed paper works—pleated, painted, printed, and collaged—alongside a salon wall of eclectic pieces, including sculptural works made from sisal, paper, linen, and hemp, a “weaving” of copper, “drawings” in stone, and a Japanese watercolor woodblock print (mokuhanga). We have assembled a grouping of cubes and spheres of everything from bark to jute to stainless steel and another of baskets of natural materials, each at least 12 inches high. Elsewhere In Right-Sized, viewers will find exquisite embroidery by Diane Itter, wood vessels by Markku Kosonen, willow sculpture by Lizzie Farey, and threads embedded in perspex by Laura Thomas.

Diane Itter
Detail: 1di Ribbon Rain, Diane Itter, knotted thread on linen, 23.25″ x 14.75″, 1984. Photo by Tom Grotta

With its eclectic assortment of more than 70 works, Right-Sized seeks to engage viewers’ impulses to classify, organize, and collect.

See what we have assembled, in person, or in the Ways of Seeing catalog: 

Exhibition Details:
Ways of Seeing
exploring ways individuals envision and curate art collections
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)

browngrotta.com

Schedule your visit at POSH. 
Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)

Our Sponsor

Ways of Seeing Part II: Impact: 20 Women Artists to Collect

62hh Tabula Rasa 2, Helena Hernmarck, wool, 53″ x 44″, 2010
1cy Azul Y Negr, Carolina Yrarrázaval, rayon, cotton, 116″ x 40.5″, 2003 Photo by Tom Grotta

Twenty international women artists of substance and significance are heralded in Impact: 20 Women Artists to Collect one of the groupings in Ways of Seeing at browngrotta arts this Fall. Ways of Seeing explores the varied ways in which people curate their art collections. Collecting by artist, including by race, sexual identity, country of origin, or as in Impact, by gender, is one of the ways in which collections are assembled.

Kay Sekimachi early works
Kay Sekimachi 113k Pale Moon, linen, cotton, rayon, plain weave, inlay, 14” x 18” x 1.25”, 1959
131k Monofilament, nylon monofilament, 4-layered weave, tubular weave, 32” x 7” x 6”. Photo by Tom Grotta

In 2019, Artsy, an online platform we collaborate with, hosted 3,999 galleries. Only 8% of these galleries represented more women artists than men. browngrotta arts is among that 8%, promoting a diverse array of exceptional women artists beyond the group featured in Impact: 20 Women Artists to Collect. The selection in Impact, though a small sample of the women artists we work with, is a group, both intriguing and influential. The artists span various nationalities—including North America, Europe, Asia, and South America—and generations, with birth years ranging from 1917 to 1960. Each artist has mastered both traditional and experimental techniques, while expanding the boundaries of textiles as fine art. 

Caroline Bartlett
Caroline Bartlett
24cb Curve, painted linen, cotton thread, perspex, 85” x 17.25”, 2021
25cb Fatehpur Sikri, painted linen, cotton thread, perspex, 66” x 8.25” (each), 1990. Photo by Tom Grotta

Impact will feature a multifaceted group of sculptures and weavings made from 1976 to 2024. The artists in Impact have demonstrated a knowledge of traditional and experimental techniques, while redefining the perception of textiles as fine art. “Each of these artists have enlarged the expectations and possibilities of fiber art through their singular, iconic practices,” says browngrotta arts co-curator, Tom Grotta. 

Katherine Westphal quilt, Grethe Sørensen weavings
Katherine Westphal, 47w The-puzzle-of-Floating-World-#2, transfer print and quilting on cotton, 85” x 68”, 1976
Grethe Sørensen, 24gs Interferens; 25gs Blue Color Gradation, linen, 57” x 55” each, 2005. Photo by Tom Grotta

Ethel Stein (1917), for example, who would be 107 if she were still alive, studied under Josef Albers. Intensive study of historical textiles led her to reinterpret historical textile structures using contemporary looms, blending modernist Bauhaus ideals of simplicity, order, functionality, and modesty. In contrast, Katherine Westphal (1919), an eclectic artist from the same era, worked across ceramics, quilting, basketmaking, and wearable art. 

Jin-Sook  Red and Blue
Jin-Sook so, 64jss Red Untitled 2021, 65jss Blue/Gold Untitled 2021
steel mesh, painted, electroplated silver and gold leaf, 31.5” x 31.5” x 4.5” (each), 2021. Photo by Tom Grotta

Born 30 years later in Korea, Jin-Sook So (1950) and Yeonsoon Chang (1950), began as traditional textile makers, then moved to exploring sculptural forms. So creates light-reflecting, three-dimensional works using electroplated and painted stainless steel mesh that evoke silk organza. Chang molds abaca fibers and Teflon mesh into structures that investigate the universe, coated with an eco-friendly resin she developed. 

Detail: 42sp Carter-Eclipse series, Simone Pheulpin, cotton, 13.75″ x 12.25″ x 3.5″ , 2024. Photo by tom Grotta

In between those decades, textile sculptors are Simone Pheulpin and Hisako Sekijima, born 1940 and 1944, respectively, renowned innovators. Pheulpin transforms unbleached cotton strips into organic forms reminiscent of bark, ceramics, fossilized rock, coral, or shell, using stainless steel pins instead of stitching or glue — a technique entirely of her own design. For decades, Sekijima has been on what the Victoria & Albert Museum has described as “a journey of radical experimentation,” expanding upon traditional Japanese basketmaking techniques to create inventive non-utilitarian objects, noted for their exploration of volume, mass, and space.

Ways of Seeing Catalog

Discover more about these 20 exceptional artists in person at Ways of Seeing or in our catalog. https://store.browngrotta.com/c-54-ways-of-seeing/

Exhibition Details:
Ways of Seeing
exploring ways individuals envision and curate art collections
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)

browngrotta.com

Schedule your visit at POSH. 
Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)


Art Assembled – New This Week in August

August has been an exciting month at browngrotta arts as we edge closer to the launch of our highly anticipated Fall 2024 Art in the Barn exhibition, Ways of Seeing – exploring ways individuals envision and curate art collections. Our upcoming showcase, delves into the diverse ways individuals curate and experience art collections. Within this exhibition, we’ll present unique groupings, including The Art Aquatic, featuring works inspired by water; Impact: 20 Women Artists to Collect, spotlighting influential artists from both the US and abroad; and Right-Sized, which focuses on art created with specific constraints in mind. Mark your calendars for September 21-29 to join us for this compelling event!

Over the past month, our New This Week series has introduced an array of talented artists, including Gudrun Pagter, James Bassler, Noriko Takamiya, and Zofia Butrymowicz. We’re thrilled to showcase their remarkable contributions and offer you a glimpse into their extraordinary work.

Catch up on all our recent features and stay tuned for more exciting updates as we count down to our big exhibition!

Gudrun Pagter
18gp Red, Gudrun Pagter, sisal and flax , 67” x 94.5”, 2015. Photo by Tom Grotta

Kicking off the month, we had the pleasure of featuring the work of Gudrun Pagter. A distinguished Danish artist, Pagter is celebrated for her bold and graphic tapestries that engage deeply with themes of architecture and geometry.

Pagter’s artwork is characterized by narrow lines and shifts in color fields, demonstrating her commitment to exploring and refining artistic idioms. She describes her approach as a rigorous investigation into the picture plane, employing a disciplined structuring of geometric forms and a restricted color palette. Her work not only captures the essence of architectural forms but also invites viewers into a meticulously crafted world of design.

We’re thrilled to showcase Pagter’s captivating pieces and hope you found her feature as inspiring as we did!

James Bassler
19bas Tracking Nasca Patterns, James Bassler, indigo dyed ikat tapestry, 63″ x 32″, 2006; linen, both the warp and parts of the weft, natural dark brown cotton from Guatemala, lighter brown cotton from Oaxaca, Coyuchi, a white handspun silk from Oaxaca , the silk worms feed off of native oak trees, and perhaps the most special of the yarns is the purple-dyed, handspun cotton, Caracol. The Caracol dye comes from a sea snail that lives off the Pacific coast, on rocks, in Oaxaca. Photo by Tom Grotta

Next, we turned our spotlight to the remarkable James Bassler and his tapestry Tracking Nasca Patterns. Since 1980, Bassler has delved into various weaving traditions, including the wedge-weave structure of the Navajo, Japanese shibori, and pre-Columbian scaffold weave techniques. His work is a testament to his dedication to exploring and preserving these ancient textile practices.

This specific piece was crafted with linen for both the warp and parts of the weft, this tapestry incorporates natural dark brown cotton from Guatemala, lighter brown cotton from Oaxaca, and Coyuchi, a handspun silk from Oaxaca. The unique silk used in this work is produced by worms that feed on native oak trees, adding a special touch of nature’s elegance. The highlight of the tapestry is the striking purple-dyed handspun cotton called Caracol, derived from a traditional dyeing process involving sea snails found along the Pacific coast of Oaxaca. Local artisans collect the snails to extract the dye before returning them to their habitat, demonstrating a sustainable practice deeply rooted in tradition.

We’re honored to showcase Bassler’s intricate and culturally rich tapestry, and we hope you enjoy exploring the craftsmanship and historical significance embedded in this piece.

Noriko Takamiya
33nt Vision and Perception, Noriko Takamiya, bamboo stalks
5.5” x 7” x 7”, 2023. Photo by Tom Grotta

We then turned our spotlight to the innovative Noriko Takamiya, celebrated for her contemporary take on traditional Japanese basketmaking techniques. Takamiya’s practice is a captivating blend of experimentation and refinement, as she explores various weaving methods using an array of materials such as wood splint, ramie, rice straw, and paper.

Her work often features non-vessel forms that highlight the unique interplay between structure and material. Takamiya’s approach involves wrapping, tying, and plaiting techniques, resulting in intricate, sculptural pieces that showcase her mastery over both form and texture.

Takamiya is part of a distinguished group of basketmakers, inspired by Hisako Sekijima’s pioneering basket technology, which has evolved into a new method of three-dimensional modeling. Since 1986, this influential group has continued to push the boundaries of basketry, contributing significantly to the field.

Zofia Butrymowicz
8zb Słońce Szafirowe, (Sapphire Sun), Zofia Butrymowicz, linen, wool, 84″ x 78″, 1.5″, 1968. Photo by Tom Grotta

Last, but certainly not least, we honored the late artist Zofia Butrymowicz, a pioneering figure in East European textile art. Butrymowicz is remembered for her innovative approach to weaving, which she referred to as “loom thinking.” This technique involved working directly on the loom without a prepared cartoon, allowing for spontaneous and dynamic creations.

Butrymowicz excelled in the wool gobelin technique, utilizing handspun wools that were often rough and irregular to create striking and textured pieces. Her work frequently emphasized color, reflecting her deep interest in experimentation and new artistic expressions. Throughout her career, Butrymowicz’s contributions to the art world were celebrated globally, and her legacy continues to inspire.

Her unique approach and dedication to pushing the boundaries of textile art have left an indelible mark. We’re privileged to feature her remarkable work, celebrating her innovative spirit and enduring influence.

Thank you for following along with our latest features and updates. We’re excited to share more as we approach the launch of Ways of Seeing. Don’t forget to reserve your spot for the exhibition and stay tuned for further details!


Ways of Seeing Part One: The Art Aquatic

Ways of Seeing, browngrotta arts’ Fall 2024 exhibition (September 20 – 29) explores various ways that individuals envision and organize art collections. One of the three types of collections we will exhibit in Ways of Seeing is an arrangement based on a specific theme. Having a fondness for water and a location between the Norwalk River and Long Island Sound, we chose water-related art, specifically, The Art Aquatic, as our sample organizing principle.


Karyl Sisson Octopus
Flight III, Karyl Sisson, deconstructed vintage zippers, thread, 5″ x 32″ x 22″, 2013. Photo by Tom Grotta

The changeable, fluid nature of water has often been an inspiration for artists. Artists use water to convey a variety of meanings. Some are moved by water as a natural force, for others there is a more spiritual connection, and still others are interested in how humans are impacting our oceans and rivers — in each case the results are thought provoking and intriguing. 

Marian Bijlenga Fish Scales
40mb Scale Flowers, Marian Bijlenga, dyed Nile Perch fish scales, 22.375″ x 18.875″ x 2.5″, 2019

Artists in The Art Aquatic exhibition reflect that diversity of approaches. Some have made imaginative uses of water-related materials. There are patchworks of fish skins by Annette Bellamy, who spends part of each year fishing commercially and compositions of fish scales by Marian Bijlenga. Keiji Nio photographs sea scenes, uses the images in ribbons that he plaits and edges with beach sand. Jeannet Leenderste creates baskets of seaweed she forages in Maine and works with the Rockweed Coalition. “Seaweed not only creates a habitat for countless species, it sequesters carbon,” she says, “and protects our shoreline as our sea levels are rising.”

Ulla-Maija Vikman painted threads
Ulla-Maija Vikman, Biagga (Sea Wind), painted viscose and linen, 67 x 71 in, 2010. Photo by Tom Grotta

Other works in The Art Aquatic offer more abstract references to life in the deep, including Ulla-Maija Vikman’s “painting,” Biagga (Sea Wind), made of viscose threads in marine colors.  Mariette Rousseau-Vermette’s Blue Water II, made of woven tubes of beachy blue, grey, white, and yellow, evokes a sunny day at the water’s edge. Masakazu Kobayashi’s assemblage of silk-wrapped bows reflects an ocean horizon.

Ed Rossbach Fish basket
Fish Trap, Ed Rossbach, 14″ x 11″ x 11″, 1988. Photo by Tom Grotta

A third series of works offer watery imagery, like Judy Mulford’s Aging by the Sea which incorporates a conch shell and a tiny boat covered in knotless netting, Ed Rossbach’s Fish Trap Basket, with a whimsical fish motif, the mermaid in Norma Minkowitz’s sculpture, My Cup Runneth Over, and Karyl Sisson’s Flight III, a sea-creature-like sculpture of vintage zippers.

Floating paper boats by Jane Balsgaard and Merja Winqvist. Tubular textile by Mariette-Rousseau-Vermette
Paper boats by Jane Balsgaard and Merja Winqvist, Tubular textile by Mariette-Rousseau-Vermette. Photo by Tom Grotta

More literal still, there are the nautical object interpretations included in the exhibition, like Mercedes Vicente‘s shell of cotton canvas. Jane Balsgaard’s Relief floats alongside Merja Winqvist’s gridded boat – both are made of paper. Text from Moby Dick is etched on Call Me Ishmael, Lawrence LaBianca’s ivory-colored boat sculpture. La Bianca has created a body of work that engages aquatic environments. “The tools we apply to nature—to contain it, shape it, understand it and categorize it also have a profound impact upon it,” he says. LaBianca references the impetus to measure, understand, contain, and manipulate nature that animates his art – that impetus is one that can animate collectors of art as well.

Wax linen cover shell by Judy Mulford
Judy Mulford, Aging-By the Sea , shell, waxed linen, waxed linen, silver, beads, pearls, silver spoon, sand, plexiglas, 11″ x 11″ x 10″, 2004. Photo by Tom Grotta

Join us at Ways of Seeing and learn more.

Exhibition Details:
Ways of Seeing
exploring ways individuals envision and curate art collections
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)
browngrotta.com

Schedule your visit at POSH. 
Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)

Lives Well Lived: Maggie Henton

Portrait Maggie Henton
Maggie Henton, August 2024. Portrait by Tom Grotta

We were so sorry to learn about the death of artist Maggie Henton in August 2024. We have been exhibiting Henton’s work since our exhibition, The British Invasion: Maggie Henton and Dail Behennah in 1994. That event featured Henton’s meticulously constructed baskets of wire and colorful cane. Their weave patterns  were developed from the study of Southeast Asian weaving techniques, and reflected her interest in rhythm, form, and the interaction between layers of pattern. Henton attended the opening of The British Invasion in Wilton, Connecticut meeting many collectors who were excited by her work.

Two Sides of Double Sided Folding Screen, interlaced birch plywood and wire, 59” x 80”, 1996. Photos by Tom Grotta

Born in 1953, Henton studied basketmaking at the London College of Furniture. Henton’s work involved more than creating baskets and objects of wood, however, it also included drawing, stitch, printmaking, photography, video, and installation. Much of Henton’s practice is developed in response to specific sites. She was interested in quality of place, and in how places are constructed and inhabited. These interests led her to complete an MA in Architecture and Spatial Culture.

Triangular Box with Lid, dyed cane wire and metal, 7” x 14” x 14”, 1995. Photo by Tom Grotta

“Work is usually made in response to a specific location,” she said. “The forms the work take reflect the particularities of the site. Pieces included installations, photography, print, stitched and drawing series. Working in this way provided the stimulus for the development of new ideas, whilst the apparent restrictions (of working on site (and often out of a suitcase) are a creative challenge and a prompt to think beyond my comfort zone. I have worked at sites in various locations in Europe and extensively in Australia.” 

Rain at Dawn, birch plywood, acrylic paint, stainless steel wire, 18″ x 19″ x 4″, 2001. Photo by Tom Grotta

In recent years, Henton made work in response to museum collections, (including Hasting Museum in 2018); and textile mill buildings and their history (Sunnybank Mill in 2019). During 2020 she researched the 18th and 19th century textile trade and its legacy of mill buildings in Lancashire. Much of this work focused on investigations into the legacies of Empire, including a project concerning poverty and disease in Victorian London. 

Diamond Bowl
Diamond Bowl, Maggie Henton, dyed and painted cane and copper wire, 7.5” x 30” x 19”, 1993. Photo by Tom Grotta

In reviewing Henton’s legacy upon her death, artist Caroline Bartlett wrote, “I have found there a lifetime’s work from basketry and wood-based pieces to textile works and combinations of stitch and print, all executed with such integrity and based on thorough research of content and material.”

Maggie Henton Birch Plywood Sculptures
0206mh Untitled, Maggie Henton, laminated birch plywood, sandblasted perspex, acrylic paint, steel nuts and bolts, 14” x 11.675” x 5.275”, 2002; 0105mh Untitled, Maggie Henton, laminated birch plywood, sandblasted perspex, acrylic paint, steel nuts and bolts, 14” x 16” x 7.25”, 2001. Photo by Tom Grotta

Henton’s work is found in a number of public collections include that of the Victoria & Albert Museum, London, UK; American Craft Museum, New York, New York; Museum of Fine Arts, Houston, Texas; Charles A. Wustum Museum of Fine Art, Racine, Wisconsin; Ulster Museum, Ireland; Negenoord Maaspark, Belgium; Crafts Council, London, UK; Contemporary Arts Society, UK; Calderdale Museums, Halifax, UK; Shipley Art Gallery, UK; Leicester City Art Gallery, UK; Zoology Museum, Cambridge, UK; Bankfield Museum, Halifax, UK;  the Welbeck Estate, Nottinghamshire, UK; Platt Hall Costume Museum, Manchester, UK; and Shoreditch Town Hall, UK. 


Pieces and Parts – Patchwork and Appliqué

Kay Sekimachi
5k Lava (Patched Pot), Kay Sekimachi, handwoven and laminated warp-dyed linen on 12 layers of japanese paper, 11” x 14” x 14”, 1991. Photo by Tom Grotta

We are on vacation and Maine and rather than post a “Gone Fishing” sign this week (only one of us fishes anyway) we decided to explore some pieced, patchworked, and appliquéd works made by artists who have worked with browngrotta arts. They include this striking patched pot by Kay Sekimachi and Resound, a large appliqué by Ase Ljones. Work by both artists will be featured in browngrotta arts’ fall exhibition, Ways of Seeing (September 20 – 29, 2024).

Åse Ljones
Detail: 4al Resound, Åse Ljones, rubber, silk, thread, 72” x 43.75″, 2001. Photo by Tom Grotta

Patchwork and appliqué have been integral to textile arts for centuries. Originating from the need to reuse and repurpose worn-out fabrics, patchwork involved stitching together various fabric pieces to create a larger, functional piece, often a quilt. Appliqué, on the other hand, involves sewing smaller pieces of fabric onto a larger base fabric to create decorative designs. Both techniques have roots in diverse cultures, from the elaborate quilts of 19th-century America to the intricate Indian patchwork and Japanese boro textiles.

Katherine Westphal
36w Untitled, Katherine Westphal, paper and linen, 32″ x 47″, 1983. Photo by Tom Grotta
Katherine Westphal
Detail: 1w October: A Walk with Monet, Katherine Westphal, paper, dyed, heat transfer photo copy, patched, 60″(h) x 51″, 1992. Photo by Tom Grotta

The techniques have continued relevance. They are used in mixed media works and in upcycling recycled fabrics, leather, and plastic, reflecting a broader cultural shift towards sustainability. Contemporary patchwork and appliqué often intersect with other art forms, including modern art, graphic design, and even digital art. This cross-disciplinary approach results in innovative works that challenge traditional boundaries and invite viewers to see these techniques in a new light. Noted surface designer Katherine Westphal, created a kimono by combining Japanese subway tickets and fabric. In another, October: A Walk with Monet, she patched together images she created using paper and heat transfer. Westphal is one of the artists in the upcoming exhibition Impact: 20 Women Artists to Collect (September 21-29, 2024), one part of Ways of Seeing.

Neha Puri Dhir
6npd Farmers Jacket, Neha Puri Dhir, cotton, reversible, Japanese 18th century woodcutter’s vest inspired, stitch-resist dyeing, discharge dyeing, patchwork, overdyeing, Sashiko on the collar, 2015. Photo by Tom Grotta
Anette Bellamy
Detail: 3ab Food Chain, Annette Bellamy, halibut, sablefish, salmon (including smoked salmon skins) 36″ x 21.5″, 2017. Photo by Tom Grotta

Contemporary artists use patchwork and appliqué as a medium for personal storytelling. Annette Bellamy is a commercial fisherwoman in Alaska part of the year, a part of her life that is reflected in works like Food Chain, made of pieced fishskins from a variety of fish. Neha Puri Dhir’s Farmer’s Jacket reflects a interest in upcycling and Japanese stitching techniques.

Mia Olsson
Detail: 9mo Map of Warm Area, Mia Olsson, sisal, 24.75″x 19.75″, 2012. Photo by Tom Grotta

Patchwork and appliqué techniques are powerful tools for expressing individuality. In Aphelion, the late Lena McGrath Welker merged drawings and monotypes of Ptolomy’s diagrams, constellations, plus legible and illegible writing, and blackened copper prayer tabs in a statement about the universe and our role in it. The techniques may also be used to address contemporary issues, pieced works and intricate quilts that make social and political statements. Mia Olsson’s Map of a Warm Place, for example, uses pieces of sisal to make an environmental statement.

Lena Welker
Detail: 10lw Aphelion I, Lena Welker, Arches paper (white), Rives BFK, Cave flax, Twinrocker cotton, all hand-dyed indigo; shikibu gampi folios, silk thread, ink, handwoven and hand dyed indigo lace fragment (from The Labyrinth/Toward Illumination installation). Books have Hosho paper folios all drawn in, longstitch binding, and are tied shut with tow linen and blackened bronze prayer tabs. Mei-mei Berssenbrugge’s poem fragments are all stitched to the woven lace. You have a document with all the other citations. Silk paper scrolls stitched with silk thread. 79” x 34.75” x 6.5”, 2OO8.. Photo by Tom Grotta

For more contemporary patchwork and appliqué, checkout contemporary boro: https://upcyclestitches.com/contemporary-boro/, Yoshiko Jinzenji, and Natalie Chanin.


Art Assembled – New This Week in July

July has been good to us here at browngrotta arts. We’ve started getting into our final planning phases for our  Fall 2024 “Art in the Barn” exhibition, Ways of Seeing – exploring ways individuals envision and curate art collections. The exhibition within the exhibition will feature distinct groupings: The Art Aquatic, art influenced by water; Impact: Women Artists to Collect, accomplished artists from the US and abroad; and Right-Sized, art compiled with specific parameters in mind. The exhibition will be open to the public September 21-29. We hope to see you there!

Outside of prepping for this exhibition, we’ve had the opportunity to introduce six artists in our New This Week series, including: James Bassler, Susie Gillespie, Eduardo and Mariá Eugenia Dávíla Portillo, Eva Vargo and Adela Akers.

Now, we’re recapping everything we covered so you don’t miss a thing! Read on for the full breakdown.

James Bassler
20jbas This Old House by James Bassler, multiple cotton and silk warps, patched together multiple sisal, silk, linen, agave, ramie wefts, synthetic and natural dyes. batik plain and wedge-weave construction, 27” x 42”, 2024. Photo by Tom Grotta.

We kicked off the month with a powerful feature on James Bassler‘s piece, This Old House. Timed with the 4th of July, this piece resonated deeply with the occasion. Since 1980, Bassler has been celebrated for his innovative textile work, drawing inspiration from diverse traditions such as the Navajo wedge-weave, Japanese shibori, and pre-Columbian scaffold weaves.

In “This Old House,” Bassler draws from Isabel Wilkerson’s book Caste, which likens America to an old house, with the caste system of slavery being as foundational as the studs and joints. The piece’s flag design, adorned with wax resist and a rich array of woven elements, pays homage to the African textile traditions brought to Virginia in 1619, symbolizing the loss of identity and culture imposed by slavery.

Not only is this work profound, but it also stands out for its stunning complexity.

Susie Gillespie
Evidence of Passing Time by Susie Gillespie, handspun, machine-spun linen, dyed, indigo, oak gall. gesso paint weaving, 15.75″ x 15.75″ x 2″, 2021. Photos by Tom Grotta.

Next up, we featured the talented artist Susie Gillespie and her captivating piece, Evidence of Passing Time. Gillespie draws inspiration from the beauty found in the remnants of what was once new: the patterns in damp, crumbling plaster; remnants of paint on decayed wood; rotting bark; and broken carvings. Her intricate techniques, such as broken borders, insets, twining, and weaves of herringbone and twill, bring these elements to life.

When asked about her work, Gillespie said: “Out of decay and disintegration I wish to express a sense of renewal.”

It’s no secret to us why this artist come so acclaimed, and we hope our readers feel the same.

Mariá Eugenia Dávíla Portillo
16pd Amarillo, Eduardo and Mariá Eugenia Dávíla Portillo, silk, alpaca, moriche fiber, cooper leaf, natural dyes, 82.25” x 24.6”, 2019. Photo by Tom Grotta.

The next duo we highlighted did not disappoint! Turning our spotlight to Eduardo and Mariá Eugenia Dávíla Portillo. Renowned for their experimental approach, this artistic pair has made significant strides across all facets of their practice.

Originating from Venezuela, they pioneered silk farming, utilizing local fibers and exploring natural indigo dyeing techniques inspired by their journeys through Orinoco and the Amazon. Extensive research in China and India further enriched their process, where they developed a comprehensive silk production cycle from mulberry tree cultivation to innovative textile design.

They make a spectacular duo, and we can’t wait to see more from them in the future!

Eva Vargo
8ev Paper Quilt 1, Eva Vargo, Japanese & Korean old book papers, handspun strings of old book papers, 23” x 23” x 2.25”, 2022. Photo by Tom Grotta.

We then turned our spotlight to artist Eva Vargö. With extensive travel experience, including time spent in Sweden, Japan, and Korea, Vargö has skillfully infused global influences into her practice.

Her current works are a fascinating blend of traditional weaving techniques and her own innovative paper-weaving methods. By integrating elements from Eastern philosophy, Vargö creates pieces that resonate with a deep sense of harmony and balance. Her unique approach not only reflects her diverse experiences but also continues to captivate audiences worldwide. It’s no wonder she’s earned such acclaim!

Adela Akers
53aa Five Windows, Adela Akers, linen and metal foil, 29” x 60”, 2005. Photo by Tom Grotta.

To close out the month, we are honored to highlight the work of the late, acclaimed artist Adela Akers. Her piece, Five Windows, created in 2005, showcases her masterful use of linen and metal foiling.

Born in Spain and later residing in the United States, Akers was a pivotal figure in the textile and fiber art world. Her career, which began in the 1950s, spanned the entire evolution of modern fiber art, leaving an indelible mark on the field.

We’re also thrilled to share that Akers’ work will be featured in Impact: 20 Women Artists to Collect, part of our upcoming Fall 2024 exhibition, Ways of Seeing. The exhibition will take place from September 21 to September 29, and we can’t wait for you to experience her remarkable artistry once again.

Thank you for joining us on this journey through July’s exciting features. We’re incredibly grateful for your continued support and enthusiasm for the artists and their remarkable work. Stay tuned for more updates and insights as we approach the unveiling of our upcoming Fall 2024 exhibition, Ways of Seeing. Don’t miss your chance to experience these stunning artworks in person—reserve your spot today! We look forward to seeing you there and sharing more artistic inspirations in the months ahead.


Subversive, Skilled, Sublime: Fiber Art by Women: In Washington DC.

Lia Cook
Lia Cook in front of her piece Crazy Too Quilt. Photo by Tom Grotta

We were very excited to visit Subversive, Skilled, Sublime: Fiber Art by Women last month, just after it opened at the Renwick Gallery at the Smithsonian American Art Museum in Washington, D.C. Besides thoroughly enjoying the engaging exhibition, we were pleased to catch up with senior curator of the exhibition, Mary Savig, friend of the gallery, Kathleen Mangan of the Lenore Tawney Foundation, and artist, Lia Cook (and see her exquisite work, Crazy Too Quilt).

Claire Zeisler  and Emma Amos
Claire Zeisler Coil series three–a celebration and Emma Amos Winning. Photo by Tom Grotta

As the Gallery notes explain, the 33 selected artworks in Subversive, Skilled Sublime piece together an alternative history of American art. Accessible and familiar, fiber handicrafts have long provided a source of inspiration for women. The artists in this exhibition took up fiber arts, dismissed by many art critics as menial labor, to complicate this historic marginalization and also revolutionize its import to contemporary art. They drew on personal experiences, particularly their vantage points as women, and intergenerational skills, to transform humble threads into resonant and intricate artworks.

Monofilament by Kay Sekimachi
Nagare VII, monofilament by Kay Sekimachi. Photo by Tom Grotta

The works in the exhibition are artfully displayed. From the dramatic Claire Zeisler at the entrance to the exhibition, to the Lenore Tawney Cloud in the room just behind, to the narrow circular alcove where an ethereal Kay Sekimachi monofilament hangs in space, there are many vignettes that delight. We had a few (maybe more than a few) favorites. Lenore Tawney’s In the Dark Woods from 1959 is a revelation. It represents the artist’s open warp technique in which she pulled fiber through the vertical threads (the warp) by hand to create painterly, gestural forms. Unveiling of the Statue of Liberty is an exceptional Katherine Westphal quilt. We also loved Faith Ringgold’s The Bitter Nest, Part II: The Harlem Renaissance Party and its fascinating backstory.

Maria Emilia-Faedo's
Maria Emilia-Faedo’s, A Matter of Trust, quilt of metal mesh (1994). Photo by Tom Grotta

New to us was A Matter of Trust, Maria Emilia-Faedo’s quilt of metal mesh. “I collected secrets from friends and strangers, sealed them in ordinary envelopes, and sewed them into the quilt’s pockets,” the artist told Paradise News magazine. The envelopes containing the secrets are known only to their authors and were never read by Emilia-Faedo. We also loved Red and Blue, the 1969 work by Else Regensteiner.

Adela Akers
Sketches of By the Sea, by Adela Akers. Photo by Tom Grotta

We were also impressed by the dedicated gallery space of archival materials, and spent a good amount of time there. It provides a window into the artists’ studios, deepening insight into their creative processes with sketches, mail art, and photographs. There are many resources on line, including portraits of a few of the artists. All of the artworks are drawn from the Smithsonian American Art Museum’s permanent collection; archival materials and interviews are selected from collections of the Archives of American Art. 

Katherine Westphal and Sheila Hicks
Unveiling of the Statue of Liberty, quilt by Katherine Westphal, The Principal Wife Goes On by Sheila Hicks. Untitled Bedspread by Marguerite Zurich. Photo by Tom Grotta

You have until January 5, 2025 to see Subversive, Skilled, Sublime. In the meantime, you can see work by four of the artists in Sublime, Katherine Westphal, Adela Akers, Lia Cook, and Kay Sekimachi at browngrotta arts’ in Impact: 20 Women Artists to Collect, part of our fall exhibition, Ways of Seeing.


Save the Date: Ways of Seeing, browngrotta arts’ Fall Art in the Barn exhibition Opens September 21st 

622mr Blue Water II, Mariette Rousseau-Vermette, wool and aluminum tube tapestries, 3’ x 5’, 1998. Photo by Tom Grotta

This Fall, browngrotta arts at 276 Ridgefield Road, Wilton, Connecticut, will explore the many ways individuals envision and curate their contemporary art collections. From September 21st to the 29th the gallery’s Fall 2024 “Art in the Barn” exhibition, Ways of Seeing, will sample different types of art selection criteria — by theme, by artist, by size.

Marian Bijlenga Fish Scale Detail
40mb Scale Flowers, Marian Bijlenga, dyed Nile Perch fish scales, 22.375″ x 18.875″ x 2.5″, 2019. Photo by Tom Grotta

Each work in The Art Aquatic, a theme-related collection, exists at the intersection of the artist’s fascination with a variety of nautical themes and the artmaking process. In The Art Aquatic, viewers will find imaginative uses of water-related materials: baskets incorporating shells by Birgit Birkkjaer, kayak and paddle sculptures by Chris Drury wrapped in salmon skin, Marian Bijlenga’s composition of fish scales, and Jeannet Leenderste’s baskets made of seaweed. Other works in The Art Aquatic offer more abstract references to life in the deep, including Ulla-Maija Vikman’s “painting,” Biagga (Sea Wind), made of viscose threads painted in marine colors and Mariette Rousseau-Vermette’s Blue Water II, made of woven tubes of beachy blue, grey, white, and yellow. A third series of works in The Art Aquatic offer watery imagery, like Judy Mulford’s  Aging by the Sea, that features a conch shell and tiny boat, Ed Rossbach’s Fish Trap Basket, with a whimsical fish motif, and the mermaid in Norma Minkowitz’s sculpture, My Cup Runneth Over

Sue Lawty Stone Drawing , Baskets by Hisako Sekijima
15sl Calculus, Sue Lawty, natural stones on gesso, 78.75″ x 118″, 2010. Photo by Tom Grotta

Impact: 20 Women Artists to Collect, another of the exhibitions within Ways of Seeing, will examine collecting by specific artist. Impact will present sculptures, tapestries, and mixed media works made from 1976 to 2024 by artists of significance and renown, including Kay SekimachiYeonsoon Chang, Simone Pheulpin, and Carolina Yrarrázaval. Each of these artists demonstrates a knowledge of traditional and experimental techniques, while redefining the perception of textiles as fine art.

Detail of Mia Olsson
11mo Together, Mia Olsson, relief, sisal fibers, acrylic, 2021 . Photo by Tom Grotta

A third exhibition within Ways of Seeing will be Right-Sizedwhich considers collecting within specified parameters. Diversity is the hallmark — in materials, techniques, and approaches. In Right-Sized, viewers will find embroidery by Diane Itter, sculpture in sisal, paper, and willow by Mia Olsson, Noriko Takamiya, and Lizzie Farey, ceramics by Claude Vermette, and spheres, boxes, and baskets by Hideho Tanaka, Polly Sutton, Naoko Serino, and others, worthy of collecting in multiples.

Ways of Seeing will celebrate the passion and individuality that spark and shape collections,” says co-curator Tom Grotta, “while offering collectors at all levels a wide selection of works to appreciate and possibly acquire.”

A full-color catalog will accompany the exhibition.

Details:
Ways of Seeing
exploring ways individuals envision and curate art collections
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)

Schedule your visit on POSH.

browngrotta.com